The Showbox for Android app is now available to download from this page. Downloading Showbox APK latest version of 2019th (5.30) from our website is 100% secure. Enhance your video streaming experience with its freemium features.
Showbox is an entertainment application which is basically designed for Smartphones or Tablets running on the Android OS. It is a standard streaming app and users can watch all HD Movies and TV Shows Online/Offline for free. No Subscription or Registration or Account needed.
Must read: What Happened to Showbox – Read Full Story (Jan 2019)
There are many services available on the web but Showbox is the best source to find the free video content. With its APK file, we can also run it on PC, Mac, and Smart TV to experience the large screen.
In the past Showbox was confined to Android platform devices only. Now Showbox can be installed on an iOS gadgets and Blackberry phones.
Showbox 5.29 is the newest version to be released and comes with lots of new features and bug fixes.
1 Download Showbox APK 2019 Latest Version
1.0.1 #2 Safe Method:- How to Download
2 What are the Basic Requirements
3 Install Showbox on Android
4 How to Update Showbox With New Version
5 Is Showbox Pro APK (Ad-Free) Available?
6 What is Showbox Security Risk?
7 What are the Key Features of Showbox
Download Showbox APK 2019 Latest Version
Since the Showbox is not available in the Google Play Store so we need to sideload the app manually. It is also one of the best other than Play Store apps.
In this section, I’ve provided you the current version and even older versions too. Just, tap on a black color button shown below to get the app.
Download Showbox For Windows PC
Install Showbox on Firestick
Get Showbox on Roku
App NameShowboxCurrent APK Version5.30LicenseFreeUpdated onMay 7, 2019Minimum RequirementAndroid 4.2 or Later
Warning!!! Showbox is not a legitimate Streaming Service.
It provides a content without own the copyrights from appropriate movie studios. Using this app may risky for you. Don’t install the app. please watch the movies/tv shows from legal apps such as youtube, netflix, vudu, hotstar, etc.
Recommendation: 17+ Apps Like Showbox for Replacement as Alternatives
#2 Safe Method:- How to Download
Download and Install Aptoide Store.
Open the Aptoide app.
In the search field, type a “Showbox” and go.
Open the Showbox download page.
Tap on the Install button.
Before going to install the app, it would be better to check if your device to meet its system requirements or not.
What are the Basic Requirements
To run this app without parse error, your Android device should be Android 4.2 or later. You can find this information from your device’s Setting ->About phone -> Android Version.
The minimum of 1GB RAM is required to work this app properly without hanging.
Min 200MB Storage Space
The device must have 200MB or more free space. It automatically preloads a stream to watch without buffering. For that, it requires some free internal storage to save data.
Install Showbox on Android
One of the major advantages in Android OS is that you can install an app which is not available on Play Store. So, it is not difficult to install Showbox on any Android-based devices.
To install the app, you need to change the settings on your Android and can’t figure out how. I’m going to explain how to do this using “Unknown Sources” feature. Please follow up our step-by-step guide below.
DOWNLOAD THE APP
Download the newest version of Showbox app file from the above link. It’s working properly and use it on any Android gadgets.
TURN-ON THE UNKNOWN SOURCES
To do this, go to Android Menu > Settings > Security, and tap on Unknown Sourcesand turn it on. This is an important step.
INSTALL ITS APK
Once the download is done. pull down the notification bar and tap on “showbox.apk” download notification. Next, tap on Install and follow the next steps respectively.
OPEN THE APP
Within seconds installation is complete. Now, come back to the menu and find the Showbox icon and tap to open. Have fun with your favorite films and programs.
How to Update Showbox With New Version
The creators of Showbox is regularly updating with improved features, added fresh stuff, and bug fixes.
Is your Showbox won’t update? Are you getting any error and facing any issue? Don’t worry, I’ll demonstrate the how to do this without trouble.
If Showbox has a new update available then it sends a notification. A new windows with a message as “Available a new version! Please update your program from our server”. Tap on the Update. Wait for a few seconds to download a new version.
Sometime you won’t get an automatic update notification. So, you need to uninstall the older version and again re-install with the latest version manually.
You can follow the above guide to update on Android or Bluestacks or any other device which is installed with this app.
Is Showbox Pro APK (Ad-Free) Available?
Are you looking for Showbox Ad-free version? Then you’re at the perfect section to discuss it. Everyone loves to watch movies without advertisements, Showbox also offers the fewer ads with YesPlayer.
Remember that, there is no separate Showbox pro version available. But using custom video players or Ad blockers can reduce the ads count.
How to watch Showbox Movies without Ads by using Yes Player:
Go to Play Store and install the Yes Player on your device.
Next, open the Showbox app and tap on Menu >> Settings.
Now, change the Default player to OTHER PLAYER.
Comeback to Movies section and tap on any movie.
Tap on WATCH NOW.
Choose a Yes Player to play a stream.
If you select Android Player (Default), you’ll get more ads than a VLC player. YesPlayer is specially built for Showbox and Terrarium TV.
What is Showbox Security Risk?
Your Android device is at risk! Will using Showbox cause me any trouble? We’re hearing lots of mixed news about it, but what does that mean.
We’ll discuss this section in three different points.
Yes, these days few security issues found for Showbox. Learn from here to get rid of those security risks. Due to some legal issues the official website and few trusted sources have permanently deleted the app.
Some websites have hosted the file which isn’t safe to download. There are few security risks that may create a problem for your Android device, including malware, viruses, bad software, and spyware. Please don not go for it.
So, people start searching for trusted source to find the official app. For this, I recommend users to download the as I explained in the above section.
Safety: Installing the on your device is safe but using the app may be not safe. Because, the the is now under copyright infringement. Even though it is not hosted any copyrighted content but also it is souring the content.
The government and Movie studios maybe watching you IP and viewing history so please use the VPN service.
Legal: My quick answer is NO. Watching a streaming content that you don’t own a rights is illegal to watch.
What are the Key Features of Showbox
A lot of goodies are hidden in this app. Here, we’ve rounded up the best Showbox features and functions.
Showbox is totally free to download and use. No Payments/Fees or Subscription/Signup required. Even there are no country restrictions to stream.
Watch all old and latest full-length movies in HD of Hollywood. Almost every category of movies added including Action, Adventure, Anime, Cartoon, Comedy, Documentary, Drama, Horror, Sci-Fi, etc.
Don’t miss the chance to stream TV programs/shows in HD. Find up-to-date series. Here you can get the all-time collection of TV shows seasons, which are sorted according to their popularity.
Stay-tune for the latest entertainment news and rumors of movies and tv right from the app.
Showbox brings the trailers or teasers of current and upcoming releases.
Make your own library with your favorite stuff by bookmark them.
Showbox allows you to download its content to your app and watch them when you’re offline. Its downloading speed is high.
Enable/Disable the “Automatically download content”. You can set any default Player from Android Player, VLC, MX, and other.
Here are few more
You can arrange the content by Added, Rating, Genre, and Year.
Try out different servers for best speed results.
Subtitle for various languages like English, Bulgarian, Malay, Spanish, Czech, etc.
Available resolutions are 360p, 480p, 720p, and 1080p.
Are you found the problems by download the Showbox free app from our website? Then I recommend you to refer the page called “Fix Showbox error”. Are there any other issues not listed in that tutorial? Write a comment below!
Amazon Prime is an unheralded streaming treasure trove of some of the best movies to come out in the past couple years, though good picks can feel nearly impossible to cull from the sometimes overwhelming glut of weirdly terrible titles buried in Prime’s nether regions. Take, for example, our recent discovery of just how deep Amazon Prime’s stash of martial arts classics goes, with more than a handful of our top picks for the 100 best martial arts movies of all time. Same goes for their collection of Bollywood films, which we’ve recently ranked. And then suddenly, The Good, the Bad and the Ugly is gone as soon as it arrived, and Arrival departs after what seemed like a guaranteed spot on the service forever, and Starship Troopers returns for apparently no reason, and The Virgin Suicides shows up, though isn’t appropriately marked to indicate that it’s free with a Prime membership. Who can keep track of any of this stuff?
Well, we can. Or, at least, we try. Plus, May is bursting with great picks, especially considering that Amazon Prime now hosts four of our top 10 movies of 2018, as well as others on the top 50 list, such as Cold War, Lean on Pete, Zama and Leave No Trace, not to mention one of our favorite documentaries of 2018, McQueen. Also recently added: Charles Laughton’s iconic The Night of the Hunter. Amazon Prime is proving to have an eclectic collection of stuff you won’t be able to find anywhere else.
Here are the 50 best movies available to stream with Amazon Prime this month:
50. The Neon Demon Year: 2016 Director: Nicolas Winding Refn If Nicolas Winding Refn—anthropomorphic cologne bottle; asexual jaguar—is going to make a horror film, Nicolas Winding Refn will make a horror film about the things that scare Nicolas Winding Refn most: asymmetry, sex, fatherhood. In The Neon Demon, every character is either someone’s daughter or a deranged daddy figure, both thirsty for the kind of flesh only Los Angeles can provide, the roles of predator and prey in constant, unnerving flux. Part cannibal-slasher movie and part endlessly pretty car commercial, Refn’s film about a young model (Elle Fanning) making it in the fashion industry goes exactly where you think it’s going to go, even when it’s trying as hard as it can to be weird as fuck. But despite his best efforts, Refn sustains such an overarching, creeping atmosphere of despair—such a deeply ingrained sense of looming physical imperfection, of death—that it never really matters if The Neon Demon doesn’t add up to much of anything in the end. —Dom Sinacola
49. mother! Year: 2017 Director: Darren Aronofsky Try as you might to rationalize Darren Aronofsky’s mother!, mother! does not accept rationalization. There’s little reasonable ways to construct a single cohesive interpretation of what the movie tries to tell us. There is no evidence of Aronosfky’s intention beyond what we’ve intuited from watching his films since the ’90s—as well as how often Aronofsky loves to talk about his own work, which is usually worth avoiding, because Aronofsky likes thinking the movie is about everything. The most ironclad comment you can make about mother! is that it’s basically a matryoshka doll layered with batshit insanity. Unpack the first, and you’re met immediately by the next tier of crazy, and then the next, and so on, until you’ve unpacked the whole thing and seen it for what it is: A spiritual rumination on the divine ego, a plea for environmental stewardship, an indictment of entitled invasiveness, an apocalyptic vision of America in 2017, a demonstration of man’s tendency to leech everything from the women they love until they’re nothing but a carbonized husk, a very triggering reenactment of the worst house party you’ve ever thrown. mother! is a kitchen sink movie in the most literal sense: There’s an actual kitchen sink here, Aronofsky’s idea of a joke, perhaps, or just a necessarily transparent warning. mother!, though, is about everything. Maybe the end result is that it’s also about nothing. But it’s really about whatever you can yank out of it, its elasticity the most terrifying thing about it. —Andy Crump
48. A Quiet Place Year: 2018 Director: John Krasinski A Quiet Place’s narrative hook is a killer—ingenious, ruthless—and it holds you in its sway for the entirety of this 95-minute thriller. That hook is so clever that, although this is a horror movie, I sometimes laughed as much as I tensed up, just because I admired the sheer pleasure of its execution. The film is set not too far in the future, out somewhere in rural America. Krasinski plays Lee Abbott, a married father of two. (It used to be three.) A Quiet Place introduces its conceit with confidence, letting us piece together the terrible events that have occurred. At some point not too long ago, a vicious pack of aliens invaded Earth. The creatures are savagely violent but sightless, attacking their prey through their superior hearing. And so Lee and his family—including wife Evelyn (Emily Blunt) and children Regan (Millicent Simmonds) and Marcus (Noah Jupe)—have learned that, to stay alive, they must be completely silent. Speaking largely through sign language, which the family knew already because Regan is deaf, Lee and his clan have adapted to their bleak, terrifying new circumstance, always vigilant to ensure these menacing critters don’t carve them up into little pieces. As you might expect, A Quiet Place finds plenty of opportunities for the Abbotts to make sound—usually accidentally—and then gives the audience a series of shocks as the family tries to outsmart the aliens. As with a lot of post-apocalyptic dramas, Krasinski’s third film as a director derives plenty of jolts from the laying out of its unsettling reality. The introduction of needing to be silent, the discovery of what the aliens look like, and the presentation of the ecosystem that has developed since their arrival is all fascinating, but the risk with such films is that, eventually, we’ll grow accustomed to the conceit and get restless. Krasinski and his writers sidestep the problem not just by keeping A Quiet Place short but by concocting enough variations on “Seriously, don’t make a noise” that we stay sucked into the storytelling. Nothing in his previous work could prepare viewers for the precision of A Quiet Place’s horror. —Tim Grierson
47. Cold War Year: 2018 Director: Pawel Pawlikowski Polish director Pawel Pawlikowski’s Cold War gets especially personal, building a bittersweet romance over the course of the 1950s, a love that first ignites, then smolders, between two people as their lives intersect through the decade. Wiktor (Tomasz Kot) is a musical director touring rural Poland, and young singer Zula (Joanna Kulig), an ambitious enigma posing as a village girl. Her voice bewitches everyone in earshot, Wiktor most of all, and he is captivated by her talent and beauty. Turns out, Wiktor is Pawlikowski’s father, Zula his mother, or at least versions of them. Cold War doesn’t trace the precise steps Mom and Dad took through the title period—the discontent felt between Russia, its foreign allies and its neighboring states, the resultant tension and turmoil that permeated Europe—but he dedicates the film in their memory nonetheless. This is Pawlikowski’s monument to his parents and to an era. In the camera’s eye, guided by cinematographer Lukasz Zal (collaborating with Pawlikowski anew after 2014’s Ida), time and heritage are inextricably linked to each other. Ennui and the search for reprieve from oppressive institutions weigh down the 1950s, interrupted on brief occasion by bursts of joy expressed through dance, music, culture writ large and lovemaking. All of the things that make life worth living, in other words. Wiktor and Zula aren’t alone in their pursuit of better days: Everyone, whether fleshed out or left to mingle in the movie’s margins, is seeking more for themselves. Pawlikowski leaves it to the viewer to determine for themselves the fate of his Cold War proxy parents, and to glean purpose from the film’s gaps in time, its reticence, and even its black-and-white palette. Married with the Academy ratio, the color scheme makes the film feel classic, but Pawlikowski’s desire to plumb his past makes it timeless. —Andy Crump
46. Dressed to Kill Year: 1980 Director: Brian De Palma Dressed to Kill is as much an over-the-top, transphobic, atonal mess of an attempt at putting a Hitchcockian twist on an ’80s erotic thriller as it is a compulsively watchable exercise in pure style and tension. Which means it might be the quintessential Brian De Palma joint. Sure, he may have practically parodied his own work in Raising Cain, but if you’re looking for a much earlier expression of his most iconic traits—in a more straightforward thriller, wrapping sensationalistic sexual content around a pulpy noir plot—this is the best place to start. Dressed to Kill is essentially two short films spliced into one, the first act concerning the sexual yearning of an unhappily married woman (Angie Dickinson), infused with enough unease to the film’s much more violent and explicit remainder. Considering De Palma’s obsession with remaking parts of Psycho during the ’70s and early ’80s (see: Sisters), one can easily guess what happens to the married woman before we find ourselves in a straight horror/thriller about a transgender murderer stalking a high-priced prostitute (Nancy Allen) with a razor. The fact that the killer is transgender isn’t a twist in the film, but his identity is, and if you keep following the Psycho connections, it’s very easy to guess. De Palma may have tried to dissuade his film from controversy by including a levelheaded interview with a trans war reporter on TV, watched by two characters during a split-screen sequence, but that hardly matters when De Palma has admitted to creating his own version of Jekyll and Hyde, essentially turning a trans person into a monster. Problematic but emblematic of a great director, this sleazy flick is still worth checking out. —Oktay Ege Kozak
45. After the Storm Year: 2017 Director: Hirokazu Kore-eda Depending on the filmmaker, After the Storm’s storyline could be grist for a dark comedy, a tear-jerking melodrama or a bilious character study. But because it springs from the mind of Japanese writer-director Hirokazu Kore-eda, this look at a middle-aged man who’s only slowly coming to the realization that he’s a right bastard is gentle, wistful—serene even. The film stars Hiroshi Abe (who previously appeared in Kore-eda’s I Wish) as Ryota. Years ago, he was a novelist of some acclaim—he even won a prestigious literary prize—but lately, the muse has run dry, leaving Ryota busily tending to his gambling addiction while taking a job as a private detective. And that’s when Ryota is not snooping on his ex-wife Kyoko (Yoko Maki) to see who she’s dating now, even cajoling his 11-year-old son Shingo (Taiyo Yoshizawa) to question her about how serious this new relationship is. If a melancholy, troubled tone is endemic in Kore-eda’s work, so is his close chronicling of family dynamics. While Ryota fears turning into the same terminal disappointment as his father—or, perhaps, the disappointment he perceived him to be—he tries to win Shingo’s affection, buying him gifts to assert his supremacy over his ex’s new boyfriend. In Ryota’s mind, it’s how to be close to his boy in a way his father never was with him, but After the Storm knows better, recognizing all the ways that he’s failing his kid—and also how, like its own kind of genetic gravity, Ryota is becoming his old man, unable to correct the mistakes of the past. But there’s no scorn in Kore-eda’s depiction of Ryota’s transformation, the director’s patience towards Ryota is both touching and despairing. After the Storm shows this man more kindness than perhaps he deserves, but the film has no illusions: Only Ryota can pull himself out of his own hole. But that’s the thing about having faith in people—it makes it that much easier for them to keep breaking your heart. —Tim Grierson
44. Some Like It Hot Year: 1959 Director: Billy Wilder Is Some Like It Hot one of Marilyn Monroe’s best films, or one of her most antithetical? Sugar Kane is, in a nutshell, the kind of character Marilyn struggled so hard to avoid playing for the bulk of her career: a ditzy blonde, a pure sex symbol, someone who exists in the context of the movie just to tickle the male gaze, whether within the story or without. She’s given nothing to work with, as the bulk of the film’s heavy lifting is accorded to Tony Curtis and Jack Lemmon instead. Watching the film today, you may wonder why Billy Wilder slacked on investing Sugar with any level of empathy, why he wrote the character as a one-dimensional object, a trophy for Lemmon and Curtis to compete over. You may also not wonder at all. Some Like It Hot works, even if Marilyn has little to work with other than her persona and her co-star; it’s funny, it’s quick on its feet, and it sells its central joke—that nobody, save for the audience, can see that Curtis and Lemmon are obviously dudes in drag—perfectly, layering just enough self-awareness of its own ridiculousness to keep the gag from going sour. —Andy Crump
43. Henry V Year: 1989 Director: Kenneth Branagh Kenneth Branagh’s directorial debut and an important part of his powerhouse-casting Shakespearean reboot-a-thon, Henry V is widely considered one of the best Shakespeare adaptations of all time. Its heavily laureled cast includes Paul Scofield, Ian Holm, Judi Dench, Christian Bale, Derek Jacobi, Robbie Coltrane and Emma Thompson, as well as Branagh himself in the title role, receiving Oscar nods for both Best Actor and Best Director. A darker and grittier version of the text than Laurence Olivier’s 1944 Henry V, the film has a significantly edited script and incorporates some unconventional flashbacks, primarily involving Falstaff (Coltrane), who is technically only referenced in the play. Branagh’s production is exceedingly accessible, a film well-designed to make contemporary audiences fall in love with Shakespeare, and a tremendous showcase of British acting power. —Amy Glynn
42. City of Ghosts Year: 2017 Director: Matthew Heineman There need not be a documentary about the Syrian catastrophe to rally the world around its cause—just as, in Matthew Heineman’s previous film, Cartel Land, there was no need to vilify the world of Mexican cartels or the DEA or the paramilitaristic nationalists patrolling our Southern borders to confirm that murder and drug trafficking are bad. The threats are known and the stakes understood, at least conceptually. And yet, by offering dedicated, deeply intimate portraits of the people caught up in these crises, Heineman complicates them beyond all repair, placing himself in undoubtedly death-defying situations to offer a perspective whose only bias is instinctual. So it is with City of Ghosts, in which he follows members of Raqqa is Being Slaughtered Silently, a group committed to using citizen-based journalism to expose the otherwise covered-up atrocities committed by ISIS and the Assad regime in Syria. In hiding, in Turkey and Germany and at an event for journalists in the U.S.—in exile—these men, who Heineman characterizes as a very young and even more reluctant resistance, tell of both the increasingly sophisticated multimedia methods of ISIS and their hopes for feeling safe enough to settle and start a family with equal trepidation about what they’ve conditioned themselves to never believe: That perhaps they’ll never be safe. Heineman could have easily bore witness to the atrocities himself, watching these men as they watch, over and over, videos of their loved ones executed by ISIS, a piquant punishment for their crimes of resistance. There is much to be said about the responsibility of seeing in our world today, after all. Instead, while City of Ghosts shares plenty of horrifying images, the director more often that not shields the audience from the graphic details, choosing to focus his up-close camera work on the faces of these men as they take on the responsibility of bearing witness, steeling themselves for a potential lifetime of horror in which everything they know and love will be taken from them. By the time Heineman joins these men as they receive the 2015 International Press Freedom Award for their work, the clapping, beaming journalists in the audience practically indict themselves, unable to see how these Syrian men want to be doing anything but what they feel they must, reinforcing the notion that what seems to count as international reportage anymore is the exact kind of lack of nuance that Heineman so beautifully, empathetically wants to call out. —Dom Sinacola
41. Society Year: 1989 Director: Brian Yuzna Society is perhaps what you would have ended up with in the earlier ’80s if David Cronenberg had a more robust sense of humor. Rather, this bizarre deconstruction of Reagan-era yuppiehood came from Brian Yuzna, well-known to horror fans for his partnership with Stuart Gordon, which produced the likes of Re-Animator and From Beyond…and eventually Honey, I Shrunk the Kids, believe it or not. Society is a weird film on every level, a feverish descent into what may or may not be paranoia when a popular high school guy begins questioning whether his family members (and indeed, the entire town) are involved in some sinister, sexual, exceedingly icky business. Plot takes a backseat to dark comedy and a creepily foreboding sense that we’re building to a revelatory conclusion, which absolutely does not disappoint. The effects work, suffice it to say, produces some of the most batshit crazy visuals in the history of film—there are disgusting sights here that you won’t see anywhere else, outside of perhaps an early Peter Jackson movie, a la Dead Alive. But Society’s ambitions are considerably grander than that Jackson’s gross-out classic: It takes aim at its own title and the tendency of insular communities to prey upon the outside world to create social satire of the highest (and grossest) order. —Jim Vorel
40. Crippled Avengers Year: 1978 Director: Chang Cheh In a time when exploitation cinema seemed the standard for cheap movie houses the world over, no martial arts flick got much better than this Shaw Brothers staple, which eventually adopted the much more PC title, Return of the 5 Deadly Venoms. The blind one, the deaf mute, the one without legs and the brain-damaged “idiot”: Together, they make an unstoppable force of vengeance against the local martial arts master who crippled them, as well as his son, who ironically lost his arms at a young age, and so sports dart-shooting cast-iron facsimiles. In other words, Crippled Avengers plays it cool, allowing our disfigured heroes few but important victories for most of the film, building up to its final 25-minute series of fight scenes, in which a blind man, a deaf mute, a man with iron prosthetic legs and an acrobatic “idiot” combine their individual strengths to defeat a kung fu master with, basically, robot arms. Movies like this give us reasons to get up in the morning. —Dom Sinacola
39. Les Diaboliques Year: 1955 Director: Henri-Georges Clouzot Watching Henri-Georges Clouzot’s Les Diaboliques through the lens of the modern horror film, especially the slasher flick—replete with un-killable villain (check); ever-looming jump scares (check); and a “final girl” of sorts (check?)—one would not have to squint too hard to see a new genre coming into being. You could even make a case for Clouzot’s canonization in horror, but to take the film on only those terms would miss just how masterfully the iconic French director could wield tension. Nothing about Les Diaboliques dips into the scummy waters of cheap thrills: The tightly wound tale of two women, a fragile wife (Véra Clouzot) and severe mistress (Simone Signoret) to the same abusive man (Paul Meurisse), who conspire to kill him in order to both reel in the money rightfully owed the wife, and to rid the world of another asshole, Diaboliques may not end with a surprise outcome for those of us long inured to every modern thriller’s perfunctory twist, but it’s still a heart-squeezing two hours, a murder mystery executed flawlessly. That Clouzot preceded this film with The Wages of Fear and Le Corbeau seems as surprising as the film’s outcome: By the time he’d gotten to Les Diaboliques, the director’s grasp over pulpy crime stories and hard-nosed drama had become pretty much his brand. That the film ends with a warning to audiences to not give away the ending for others—perhaps Clouzot also helped invent the spoiler alert?—seems to make it clear that even the director knew he had something devilishly special on his hands. —Dom Sinacola
38. McQueen Year: 2018 Directors: Ian Bonhôte, Peter Ettedgui The first fashion collection from Lee Alexander McQueen, titled “Jack the Ripper Stalks His Victims,” announced an artist who wasn’t going to play around. Models walked down the runway, horror on their faces, sometimes stumbling out onto the catwalk, the garments as provocative as textiles as the shows were transgressive. This was McQueen’s MA graduation collection from 1992, and he was 23. More than 25 years later, directors Ian Bonhôte and Peter Ettedgui have achieved the nearly impossible, crafting a documentary almost as stunning as the artist it profiles. While McQueen, structured around the fashion “bad boy”’s five most important shows in his career, could be argued (rather reductively) to follow a “tortured genius” narrative, perhaps what makes it such ravishing filmmaking—biographical documentary filmmaking, at that—is not only its ability to embody and manifest the same kind of indenciary qualities as the works of McQueen, but that it actively probes at the ways in which mental illness and addiction shaped his life and work, without resorting to cheap sentimentality. McQueen is a moving testament to a once-in-a-lifetime artist, and, even moreso, an examination of just how human his art was. —Kyle Turner
37. Starship Troopers Year: 1997 Director: Paul Verhoeven Glistening agitprop after-school special and gross-ass bacchanalia, Paul Verhoeven’s Starship Troopers delights in the ultraviolence it doles out in heavy spurts—but then chastises itself for having so much fun with something so wrong. Telling the story of a cadre of extremely attractive upper-middle-class white teens (played by shiny adults Casper Van Dien, Denise Richards, Nina Meyers, Jake Busey and Neil Patrick Harris) who get their cherries popped and then ground into hamburger inside the abattoir of interstellar war, Verhoeven cruises through the many tones of bellicose filmmaking: hawkish propaganda, gritty action setpieces and thrilling adventure sequences, all of it accompanied by plenty of gut-churning CGI, giant space bugs and human heads alike exploding without shame or recourse or respect for basic physics and human empathy. As much a bloodletting of Verhoeven’s childhood trauma, forged in the fascist mill of World War II Europe, as a critique of Hollywood’s cavalier attitude toward violence and uniformly heroic depictions of the military, the sci-fi spectacle can’t help but arrive at the same place no matter which angle one takes: geeked out on some hardcore cinematic mayhem. —Dom Sinacola
36. Paterson Year: 2016 Director: Jim Jarmusch Like Chantal Akerman’s ascetic classic Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, Jim Jarmusch’s Paterson concerns itself with routine. The film conditions you to jive with its particular rhythm, in part so you might feel the impact experienced by our hero when the unexpected punctuates what’s regular in this average person’s life. Only, where Jeanne Dielman depicted the day-in-day-out of working-class life as a monotonous horror show, Paterson takes an altogether different tack. To Jarmusch, the everyday existence of blue-collar individuals like bus driver-poet Paterson (Adam Driver)—whom we observe across a single week—is so simple as to be near transcendent. Paterson’s a classic nice guy, but Driver helps us realize there’s more going on beneath that exterior that’s so cautious to offend. It’s a turn of minor gestures that lacks the obvious Best Actor grandstanding to, say, win an Oscar, but rest assured Driver’s performance is one of the most impressive of its year. As with Jarmusch’s beguiling film on the whole, once acclimated, you continue to feel it long after you’ve left the cinema. —Brogan Morris
35. Dear Zachary: A Letter to a Son About His Father Year: 2008 Director: Kurt Kuenne Kurt Kuenne was childhood friends with a man named Andrew Bagby, who, in late 2001, was murdered by ex-girlfriend Shirley Turner. Relieved he’d finally put an end to a turbulent relationship, he had no idea Turner was pregnant. So she killed him, then fled to Newfoundland, where she gave birth to Bagby’s son, Zachary. This is how Dear Zachary begins: a visual testament to both Andrew Bagby’s life, as well as the enduring hearts of his parents, who, as Kuenne chronicles, moved to Newfoundland after their son’s murder to begin proceedings to gain custody of Zachary. Kuenne only meant the film to be a gift, a love letter to his friend postmarked to Zachary, to allow the baby to one day get to know his father via the many, many people who loved him most. Told in interviews, photos, phone calls, seemingly every piece of detritus from one man’s life, Kuenne’s eulogy is an achingly sad portrait of someone who, in only 28 years, deeply affected the lives of so many people around him. And then Dear Zachary transforms into something profoundly else. It begins to take on the visual language and tone of an infuriating true-crime account, painstakingly detailing the process by which Bagby’s parents gained custody and then—just as they were beginning to find some semblance of consolation—faced their worst nightmares. The film at times becomes exquisitely painful, but Kuenne has a natural gift for tension and pacing that neither exploits the material nor drags the audience through melodramatic mud. In retrospect, Dear Zachary’s expositional approach may seem a bit cloying, but that’s only because Kuenne is willing to tell a story with all the disconsolate surprise of the tragedy itself. You’re gonna bawl your guts out. —Dom Sinacola
34. Brawl in Cell Block 99 Year: 2017 Director: S. Craig Zahler In which we bask in Vince Vaughn’s hugeness, witnessing S. Craig Zahler’s pitch-perfect ode to grindhouse cinema draw the best of extremes out of an actor who’s had a rough couple years crawling out from under the parody of himself. This is not Vince Vaughn playing Bradley Thomas, stolid brute willing to do whatever it takes to protect his family, it is the silhouette of Vince Vaughn, silent and bigger than everyone else in the room, a spectre of bruised flesh—so much flesh—descending circle by circle into Hades, his odyssey heralded by the likes of Don Johnson and Udo Kier (both seemingly born to be in this endlessly compelling, awfully fucked-up movie) and soundtracked by soul/RnB icons like the O’Jays and Butch Tavares. It confirms that Zahler—along with Bone Tomahawk—is on some Tarantino levels of modern genre filmmaking—which could honestly be a pejorative, were Brawl in Cell Block 99 less finely tuned, less patient and less breathlessly violent. By the time Bradley lurches into irrevocable action, foreshadowed by an opening scene in which he rips apart a car with his bare hands, which is exactly as that sounds, every life force he snuffs out with maximum barbarity also comes with pure satisfaction, the Id of anyone who’s into this kind of thing stroked to completion. —Dom Sinacola
33. Invasion of the Body Snatchers Year: 1978 Director: Philip Kaufman There’s no real need for the film’s credit-limned intro—a nature-documentary-like sequence in which the alien spores soon to take over all of Earth float through the cosmos and down to our stupid third berg from the Sun—because from the moment we meet health inspector Matthew Bennell (Donald Sutherland) and the colleague with whom he’s hopelessly smitten, Elizabeth Driscoll (Brooke Adams), the world through which they wander seems suspiciously off. Although Philip Kaufman’s remake of Don Siegel’s 1956 Invasion of the Body Snatchers begins as a romantic comedy of sorts, pinging dry-witted lines between flirty San Franciscan urbanites as Danny Zeitlin’s score strangely lilts louder and louder overhead, Kaufman laces each frame with malice. Oddly acting extras populate the backgrounds of tracking shots and garbage trucks filled with weird dust fluff (which we eventually learn spreads the spores) exist at the fringes of the screen. The audience, of course, puts the pieces together long before the characters do—characters who include Jeff Goldblum at his beanpole-iest and Leonard Nimoy at his least Spock-iest—but that’s the point: As our protagonists slowly discover that the world they know is no longer anything they understand, so does such simmering anxiety fill and then usurp the film. Kaufman piles on more and more revolting, unnerving imagery until he offers up a final shot so bleak that he might as well be punctuating his film, and his vision of modern life, with a final, inevitable plunge into the mouth of Hell. —Dom Sinacola
32. The 36th Chamber of Shaolin Year: 1978 Director: Lau Kar-leung This is why any kung fu fan will always love Gordon Liu. The 36th Chamber of Shaolin is as classic as it gets: the definitive Shaolin movie, without a doubt, and the source of Liu’s nickname, “Master Killer.” He plays San Te, a young student wounded when his school is culled by the Manchu government, so he flees to the refuge of the Shaolin temple. After toiling as a laborer, he finally earns the right to learn kung fu, which begins the film’s famous training sequences. The 36th Chamber of Shaolin is the rare film where those training sequences actually outshine its traditional fights, because they’re just so beautiful, fluid and inventive. In each of the 36 chambers, San Te must toil to discipline his body, mind, reflexes and will. They make up the whole center of the film, and are unforgettable, bearing an iconic gravitas, imbuing kung fu with a great dignity. Because true kung fu can only be attained through the greatest of sacrifice. —Jim Vorel
31. Stagecoach Year: 1939 Director: John Ford And just like that, with one swift zoom shot, John Ford gave John Wayne his breakthrough role, reintroducing American audiences to the man who would become one of their most lasting movie icons. Two Johns, making it happen. Still,Stagecoachisn’t exactly a John Wayne movie despite the fact that John Wayne is in it; this was before the days of The Searchers, of She Wore a Yellow Ribbon, of The Quiet Man, even of Hondo, movies that each helped shape Wayne’s persona and forge his screen legend bit by bit. In Stagecoach, he’s just a man with a rifle, a mission of vengeance and a soft spot for a prostitute named Dallas. Rather than the tradition of Wayne, the film belongs to the tradition of strangers on a journey, about an unlikely and incongruous grouping of humans banding together to make it to a common destination. They ride a dangerous road, but Ford’s great gift as a filmmaker is his knack for making peril buoyant and entertaining, and in Stagecoach he does both effortlessly. —Andy Crump
30. I Am Not Your Negro Year: 2017 Director: Raoul Peck Raoul Peck focuses on James Baldwin’s unfinished book Remember This House, a work that would have memorialized three of his friends, Martin Luther King Jr., Malcolm X and Medgar Evers. All three black men were assassinated within five years of each other, and we learn in the film that Baldwin was not just concerned about these losses as terrible blows to the Civil Rights movement, but deeply cared for the wives and children of the men who were murdered. Baldwin’s overwhelming pain is as much the subject of the film as his intellect. And so I Am Not Your Negro is not just a portrait of an artist, but a portrait of mourning—what it looks, sounds and feels like to lose friends, and to do so with the whole world watching (and with so much of America refusing to understand how it happened, and why it will keep happening). Peck could have done little else besides give us this feeling, placing us squarely in the presence of Baldwin, and I Am Not Your Negro would have likely still been a success. His decision to steer away from the usual documentary format, where respected minds comment on a subject, creates a sense of intimacy difficult to inspire in films like this. The pleasure of sitting with Baldwin’s words, and his words alone, is exquisite. There’s no interpreter, no one to explain Baldwin but Baldwin—and this is how it should be. —Shannon M. Houston
29. It Comes at Night Year: 2017 Director: Trey Edward Shults It Comes at Night is ostensibly a horror movie, moreso than Shults’s debut, Krisha, but even Krisha was more of a horror movie than most measured family dramas typically are. Perhaps knowing this, Shults calls It Comes at Night an atypical horror movie, but—it’s already obvious after only two of these—Shults makes horror movies to the extent that everything in them is laced with dread, and every situation suffocated with inevitability. For his sophomore film, adorned with a much larger budget than Krisha and cast with some real indie star power compared to his previous cast (of family members doing him a solid), Shults imagines a near future as could be expected from a somber flick like this. A “sickness” has ravaged the world and survival is all that matters for those still left. In order to keep their shit together enough to keep living, the small group of people in Shults’s film have to accept the same things the audience does: That important characters will die, tragedy will happen and the horror of life is about the pointlessness of resisting the tide of either. So it makes sense that It Comes at Night is such an open wound of a watch, pained with regret and loss and the mundane ache of simply existing: It’s trauma as tone poem, bittersweet down to its bones, a triumph of empathetic, soul-shaking movie-making. —Dom Sinacola
War. What is it good for? Well, if nothing else, then a tidy template for cinema: conflict, clear protagonists and antagonists, heightened emotions, and a generally unpredictable, lawless atmosphere which—as per the western—has since the dawn of cinema offered an elastic dramatic environment in which filmmakers can explore men at both their best and worst. And make no mistake, the war movie is almost always about men.
It’s the most masculine of genres, the fact that armies have throughout history often been almost exclusively male seeing to it that men almost always dominate these things. It’s a genre that emphasizes action and existential angst. It’s also a malleable genre, and one that could broadly include all manner of films that we ultimately ruled out of the running in this list.
With this top 100, we’ve made the decision to include only movies whose wars are based on historical conflicts, so none of the likes of Edge of Tomorrow or Starship Troopers. We’ve picked films that deal with soldiers, soldiering and warfare directly, meaning wartime movies set primarily away from conflict, often told largely or exclusively from the civilian perspective—a category which includes such classics as The Cranes Are Flying and Hope & Glory, Grave of the Fireflies and Forbidden Games—didn’t make the cut. Post-war dramas, like Ashes and Diamonds and Germany, Year Zero, as well as films that go to war for only a fraction of the running time, such as From Here to Eternity and Born on the Fourth of July, were also excluded.
Some tough choices were made on what actually constituted a “war movie.” Resistance dramas feature in this list, but Casablanca doesn’t appear. Likewise Robert Bresson’s A Man Escaped and Sidney Lumet’s The Hill. It was decided ultimately that the war was too much a peripheral element in these films. On the other hand, while both western The Good, The Bad and The Ugly and biopic The Imitation Game feature war prominently, they, like Casablanca (a romance with noir and thriller elements) plus A Man Escaped and The Hill (both prison movies), belong more obviously to other genres. We’ve also decided not to include movies which focus on the Holocaust here; those are set to appear in another feature entirely.
Regarding the films that do feature here: our 100 hail from all over the world. These films were released as recently as last year and as far back as 1930. They range from comical to harrowing, action-packed to quietly introspective, proudly gung-ho to deeply anti-war. They are a diverse set of movies; they are also worthy of being called the 100 greatest war movies ever made.
Merry Christmas, Mr. Lawrence (1983) Director: Nagisa Oshima
Merry Christmas, Mr. Lawrence may be the first film to confront and then attempt to understand the flawlessness of David Bowie’s charm. Pretty solidly a superstar by this point and already flush with acting experience, Bowie plays Major Jack Celliers, an impudent British officer captured by the Japanese during the thick of World War II and sent to a POW camp on Java overseen by Captain Yanoi (Ryuichi Sakamoto, a legendary musician in his own right, who also provides the film’s searing neon score). Yanoi struggles to suppress his obsession with this new prisoner, knowing full well the severe punishment that awaits any homoerotic activity under his army’s strict bushido code. Merry Christmas, Mr. Lawrence is a quiet film, unhurried and rarely manic: Long shots wander over barracks full of dirty, downtrodden and sometimes destroyed prisoners, but always Oshima finds his way back to the saint-like Bowie, who skirts the line between wit and tragedy, mean-mugging while the camera laps up his every microgesture. —Dom Sinacola
Days of Glory (2006) Director: Rachid Bouchareb
The little-discussed plight of the ill-treated North African soldiers who valiantly fought for the Allied Forces in WWII (and were subsequently denied the pensions to which they were rightfully entitled) is the topic of French-Algerian director Rachid Bouchareb’s Days of Glory, which concerns itself with how the utter poverty young Algerians faced at home drove them to join the French military campaign against the Nazis. However, once recruited, the men—unsentimentally played by a quartet of actors including Amelie’s Jamel Debbouze—struggle to not let discriminatory treatment by the military brass quell their patriotism for the “Motherland.” Their resistance is bold and transformative in the face of not only institutional prejudice but also the bleak war which Bouchareb realistically and brutally captures. A history lesson, both important and beneficial for us all. —Jonah Flicker
98. 84 Charlie MoPic (1989) Director: Patrick Sheane Duncan
Like many an embedded Vietnam War doc, 84 Charlie MoPic follows a unit of homesick GIs into the jungle, where things subsequently go south, and the ensuing chaos is bottled in the half-heard, half-seen footage captured by the cameraman. Only Patrick Sheane Duncan’s MoPic isn’t a documentary at all, but one of the pioneering examples of the found-footage movie. One sees in it why the subgenre has since become basically exclusive to the horror genre—the idea that we’re watching something shot by the missing (presumed dead) is inherently unsettling and immediately introduces a crucial element of suspense. The story (a Long Range Reconnaissance Patrol scopes out North Vietnamese Army territory) is perfunctory; with 84 Charlie MoPic, a Vietnam vet filmmaker uses the pseudo-doc technique to invoke something like the shuddering fear the soldier on the ground in that war must have felt. —Brogan Morris
Hacksaw Ridge (2016) Director: Mel Gibson
More or less, every film Mel Gibson has made as a director from Braveheart onwards has been a Christian parable with splatter, each one (particularly, obviously, The Passion of the Christ) about a common Chosen One offering himself as a sacrifice for the good of mankind. Gibson’s latest, the schizophrenic WWII drama Hacksaw Ridge—half cornball melodrama, half ultra-violent action movie—is a bloodthirstily reverential bio in the same mould. Its subject, conscientious objector Desmond Doss (played with saintly sincerity by Andrew Garfield), a Seventh-day Adventist who won the Medal of Honor despite never carrying a weapon into combat, might not have approved of Gibson’s gore-hungry style, but the director’s way with battle scenes in the second half of the film is undeniable as cinema. Once it enters the Pacific Theater, and Doss’ regiment sets up camp on the heavily fortified Okinawa, Hacksaw Ridge is all Sturm und Drang, a visceral depiction of war like no other. —Brogan Morris
Savior (1998) Director: Predrag Antonijevic
The film begins with our protagonist shooting a group of Muslims at prayer. Unwilling to face justice, this same man then joins the French foreign legion and becomes a mercenary for hire in the Bosnian War of the early-to-mid-’90s. Savior may feature a square-jawed American star in the lead, in the form of a rarely better Dennis Quaid, but director Predrag Antonijevic is keen to establish from the opening scenes that his movie is no Hollywood-ized take on Europe’s last major war (a war which the Serbian Antonijevic saw up close). As he escorts to safety a young woman, pregnant after being raped by enemy soldiers, Quaid’s “Guy” is witness to atrocities that barely make sense in a modern Western setting: smiling children lobbing grenades at unsuspecting infantry; a soldier cutting the finger off an elderly woman’s hand so he can snatch her ring; a humongous Croat executing a line of his former Yugoslav countryfolk, clubbing them over the head with a range of domestic tools. Only in a war like this one, even more senselessly barbaric than his own crime, could someone like Guy find redemption. —Brogan Morris
Stalingrad (1993) Director: Joseph Vilsmaier
One of the most costly battles of the Second World War gets appropriately unflinching treatment in Joseph Vilsmaier’s Stalingrad, a German counterpart to 2001’s Russian sniper drama Enemy at the Gates. From this side, there is no pride wrapped up in fighting Stalin’s great battle—only, initially, complacency and arrogance after the Third Reich has dominated Europe for so long, then later, a gradual, horrifying deflation as the ever-shrinking remnants of Lieutenant Hans von Witzland’s (Thomas Kretschmann) platoon realize the only way they’re leaving the Russian stronghold city is through their own demise. For over two hours, we watch them die in repeated infantry assaults, by sniper fire, in a tank attack, and—eventually, as winter sets in—through illness, starvation, mutinous friendly bullets and the unrelenting cold. By the end, Vilsmaier’s film is a slog, but then it probably shouldn’t be anything else. —Brogan Morris
American Sniper (2014) Director: Clint Eastwood
For some it’s too many caveats, but uncertain politics, historical revisionism and obvious fake baby aside, American Sniper is still one of the very few great fiction films to be made about any of America’s post-9/11 wars. Directed by (the anti-war) Clint Eastwood, the adaptation of the autobiography of deadliest sniper in U.S. history Chris Kyle (Bradley Cooper) is punishingly tense in its Iraq-set battle scenes, the octogenarian filmmaker proving he can still fine-tune an action sequence, and subtly moving whenever it’s back on U.S. soil. It’s in the scenes of quiet Texas domesticity, the sounds of war still playing out as Kyle sits alone at a bar or absent-mindedly watches a blank TV screen at home, that Bradley Cooper emerges as the film’s MVP. He plays Kyle with a sensitivity and restrained anguish that perhaps doesn’t represent who the real Kyle actually was, but whatever the veracity of the depiction, it’s a gently stunning portrait of the emotional paralysis soldiers can suffer upon returning home from an unnatural situation. —Brogan Morris
Kelly’s Heroes (1970) Director: Brian G. Hutton
Kelly’s Heroes is a mess of conflicting styles. This daft, odd trifle is a heist movie, a comedy and a western set in WWII-era France, with Clint Eastwood playing a khaki’d Man With No Name, Don Rickles doing his wiseguy shtick and Donald Sutherland acting like he’s time-travelled in from the Summer of Love to play a spaced-out tank commander. All these awkward elements flesh out the bones of a straightforward men-on-a-mission movie, wherein a team of rogues led by Telly Savalas’ sergeant and Eastwood’s laconic Pvt. Kelly carry out the robbery of Nazi gold inside enemy territory. The brash strangeness of the conceit is a big part of why Kelly’s Heroes is so enjoyable—not tied down by anything like realism or tonal consistency, it’s an enthusiastic grab-bag of ideas, with director Brian G. Hutton reveling in destroying his sets like a kid wrecking his playset. It’s a cartoon done live-action, with war as a romp, the backdrop to an escapade without consequences. —Brogan Morris
92. Trial on the Road (1971) Director: Aleksei German
Enfant terrible of Soviet cinema Aleksei German made a hell of an impression with Trial on the Road back in the day—at least with Russian government officials, who were so incensed by his sophomore effort that they banned it for 15 years. Presumably they disliked the harsh tone and wretched violence, as well as the moral gray zone that the film proudly resides in, wherein a Russian who fought for the Nazis under duress might be deserving of and ultimately earn redemption by rejoining the anti-German partisans—all the elements that make Trial on the Road so memorable. It’s a hybrid: a thoughtful and offbeat arthouse film in black-and-white that also has ambitions to be an action movie, led by the inscrutable, Charles Bronson-esque Vladimir Zamansky. It’s gloomy and sad, and ends with a bullet-riddled finale at a German-held trainyard that any Hollywood action director could be proud of. —Brogan Morris
Waterloo (1970) Director: Sergei Bondarchuk
There’s a feast of pre-CGI spectacle on offer in Sergei Bondarchuk’s epic 1970 undertaking Waterloo, which took all the money and might that the Soviet Union and super-producer Dino De Laurentiis together could muster to recreate one of Europe’s most famous skirmishes. Courtesy of Brezhnev’s Russia, the production had at its disposal acres of engineered land and, as extras portraying British, French and Prussian forces, 17,000 of the country’s infantry and cavalry—or, to put it another way, what was said at that time to be the seventh largest army in the world. The film proudly displays its assets in breathtaking widescreen during its chaotic, almost hour-long battle sequence, but still somehow manages to strike a balance between opulent war movie and double character study of two legendary figures. Christopher Plummer plays the Duke of Wellington as a smarmy aristo who enjoys war like a board game, while Rod Steiger is a Napoleon gone to seed, the former military golden boy now an overweight middle-aged man in failing health, showing signs of manic-depression and desperately clinging on to what power he has left as Emperor. —Brogan Morris
Restrepo (2010) Director: Tim Hetherington, Sebastian Junger
Filmed in Afghanistan’s Korengal Valley during however interminable months it took for a small company of American soldiers to take back inches of that territory from the Taliban and establish the titular outpost, named after their fallen friend, photojournalist Tim Hetherington and journalist Sebastian Junger keep their documentary hyper-focused on the quotidian of the War on Terror. Alternating pointlessly but predictably between long bouts of boredom and spurts of graphic violence, the lives of the soldiers are drained every passing day of all sense of purpose while the lives of both the people of Afghanistan and the Taliban enemy become, more and more, abstractions—to the point that, in a scene following an especially harrowing loss, the soldiers greet a Taliban fighter’s death as one would a villain’s end in a Zack Snyder movie. In Restrepo, death is real until it’s not, the reality of the soldiers’ time in Afghanistan rarely making sense the more they try to accept it. —Dom Sinacola
Hamburger Hill (1987) Director: John Irvin
Flanked as it was by two mega hit Vietnam movies—Oliver Stone’s Oscar darling Platoon and Stanley Kubrick’s acclaimed Full Metal Jacket—1987’s Hamburger Hill had a hard time making an impact. Critics and audiences of the time shrugged, but on reflection the film today seems like a natty forerunner to Black Hawk Down, a no-nonsense, almost apolitical grunt’s-eye view of combat on alien soil. The “why” of the war at ground level matters little to the mostly poor (and disproportionately black) conscripts who make up the American side; as in Black Hawk, the chief concern in the heat of the moment is kill or be killed. Following a brief introduction to a platoon of regular joes, obsessed with music, women and counting the days until the end of service, we watch as heads are blitzed by machine gun fire and bodies disappear from the shock of tree-bound explosives—and all for the sake of capturing a hill of little-to-no strategic value. Platoon argued that “the first casualty of war is innocence.” Hamburger Hill, a meat and potatoes war movie, counters that the only casualties are the unlucky ones who fail to make it out alive, plain and simple. —Brogan Morris
. Fury (2014) Director: David Ayer
Rather than portraying the closing days of a conflict (in this case, it’s
Being a successful businessman or entrepreneur is not easy for everyone as a lot of problems and obstacles is out there in the way to manage and develop a business successfully. It is also true that entrepreneurs and business owners have so many chances to polish their skills and expertise to grow more in days to come. As they are usually loaded with numerous tasks, jobs and duties to accomplish every day, they are the humans need inspiration often in order to get things done properly without losing the right track. There is nothing better than taking a break from day to day tasks and watching inspiring movies to strengthen optimism and anticipation.
Whether you are promoting the best watch brands as an entrepreneur or presently stand on any other stage of the entrepreneurial path, here we have listed some of the best inspirational movies for entrepreneurs that can help them find the much-needed inspiration for better business management and growth.
The Wolf of Wall Street
As boosting the sales of a business is the only way to increase its revenues, movie named ‘The Wolf of Wall Street’ can help business owners to make improvements in their sales team to help sales individual sell more. It lets the entrepreneurs to become well at sales to improve bottom lines. The entire movie is based on the true story of Jordan Belfort that can be the great role model for professionals these days.
The Social Network
The name shows that it should be about something social media. Yes, its true because the movie tells the story of Mark Zuckerberg who is the owner and CEO of the most famous social media network Facebook. It shows that how the rise of Mark Zuckerberg was filled with obstacles and roadblocks but he was determined to land success on his way. The movie reveals that a business owner should be strong-minded and confident as well to build and grow a business successfully. The movie also shows that most of the giant brands and organizations have small beginnings.
Up in the Air
After watching this inspirational movie, entrepreneurs and business owners can make wise decisions for the positive growth of business as the key role of this film fights his boss’s idea of automating the job by using the latest tech inventions. The movie reveals that humans can make a business better than ever that technology cannot because humans can use their creative ideas and the power of brainstorming to get things better. The film also conveys a message for business owners that they should listen their employees when they are about to make some big decisions.
The Pursuit of Happyness
It is a true story captured as a movie and based on the journey of Chris Gardner from a homeless individual to a successful entrepreneur. This movie is a motivation to any professional who has many obstacles and hurdles on his way to success. Chris Gardner struggled as a homeless for one year and at the same time get through the unpaid internship of 6 months. His dignity, hard work and determination made him a successful CEO at the end.
It is the story of an employee who have struggled to start a new business right after losing his position. During the journey of success, his ex-employer blocked him at every stage of business management but he keeps going to thrive. It was the courage to strike on his own that made him successful while having a lot of road blocks and obstacles. Every entrepreneur should watch this movie to get courage and inspiration to make his/her business grow.
It is a must-watch for tech geeks because lesson of this movie is that ‘No matter what the challenge or job is, take it and solve it on your own’. However, one should watch this movie with the mates of similar interests.
Glengarry Glen Ross
Just like the very first movie mentioned in the list ‘The Wolf of Wall Street’, Glengarry Glen Ross is also about making more sales to make a business successful. The movie reveals that how high pressure and competitive environment can help sales team to improve for better sales.
It is the must-watch for entrepreneurs and other professionals because the movie reveals the things should be avoided while running a company or business to succeed. After watching this movie, a business owner will get to know the core tip and tricks of building a successful business.
SnapTube APK is a video downloader app which lets you download videos from the popular sites like YouTube, Vimeo, Instagram, GB Instagram APK, etc. This app is available and can be downloaded on Android and Windows devices (check to download Snaptube for PC). You will have various download managers to download videos from the popular video streaming sites on your computer.
But it’s not the same case when it comes to your smartphone. I am an Android user myself, and so I can understand this situation very well. Plus, it takes more time to sort and download specific videos on the mobile.
SnapTube is the best option if you spend your time mostly on YouTube. Without further delay let’s find out more information about SnapTube APK. As the 7Downloads trademark, you can directly start downloading Snaptube latest version from the download button below. Are you ready? Let’s begin.
Note: Please share this Snaptube with your friends using the fastest file-sharing app in the world. Get SHAREit APK and Xender APK from our website.
SnapTube is user-friendly, clean, and easy-to-use YouTube video downloader for Android users. It supports YouTube and all other popular video streaming websites.
SnapTube app makes it very easy to download your favorite videos on YouTube. You can download as many videos as you want by using this app for free of charge. It doesn’t require any additional plugins. You will be able to download faster than any other apps with this app. SnapTube APK doesn’t occupy too much space which is superb for your Android smartphone or tablet.
I have mentioned it in the beginning that it is compatible with more than 15 video sharing websites. I am sure that it’ll be enough. What do you say? It has an option to convert your videos to Mp3 after downloading.
Now I will discuss with you how to download and install SnapTube APK on Android. But let’s take a look at the key feature of SnapTube first. Don’t stop, Keep reading!
Key Features of SnapTube App
No ads: There are no ads on SnapTube app. Yes. That’s correct. You won’t see any irritating ads while watching videos. Isn’t it cool?
Suitable Resolutions: It offers 144p to 1080p HD resolution to watch and download videos. SnapTube has an Mp3 option as well.
Download Free Videos: You can download unlimited videos on this app for free of charge. You won’t be paying anything to use this wonderful app. Few other apps like TubeMate for PC. provide the same features as Snaptube.
Low Disk Space: SnapTube doesn’t consume much space on your device. The download file comes in a compressed size to save even further space. But if you really have to save more space, try using Clean Master for PC and Android.
Easy to Search: No need to put the certain keyword to seek a particular video or song on SnapTube. Just type the Artist’s name, and you will see the search results immediately. SnapTube recommends you videos or songs based on your previous query (same as YouTube and video sharing websites)
Download Speed: You can download full HD (1080p) videos at high speed on SnapTube. That’s why it is one of the best apps for downloading videos among the users on Android.
One Touch Download Button: Many video downloaders need to copy-paste the link, select the video quality and the folder afterward to download a video. However, it’s not the same with SnapTube as you can download by clicking on a single to download any videos.
Built-in Mp3 Download from YouTube: You have liked the music of a video. Do you want to download it as Mp3? Yes. But how will you do it? Do you need another app to convert your video into Mp3? It’s not necessary because SnapTube has integrated Mp3 download option within the app already.
How to Download & Install SnapTube APK
You have read about SnapTube and all the features of this app already. Now, it’s time to download this app on your smartphone.
Step 1. You can’t get SnapTube from Google Play Store. You will require third-party websites to download this app on your phone. No need to look for anywhere else. Just click on the download button which I have given you at the beginning of the article.
Step 2. After downloading this app, open Settings and click on Security option> enable ‘Unknown sources‘ after ticking the checkbox to allow this app on your Android device.
Step 3. A pop-up will show on the screen, click on the ‘OK‘ to continue. Find SnapTube APK file and double tap on it, and you will get a prompt to allow the installation on your device.
Just wait for a while to finish the installation. You would notice an icon on the home screen if you did everything correctly so far. That’s it. Now You can download your favorite songs and other videos for free on YouTube, Vimeo, Instagram, Facebook, etc. with this awesome app installed on your phone.
I have told you everything about the latest version of SnapTube APK including features, how to download and install it on your Android device. What’s your opinion about this free video downloader app? Let me know by dropping a comment below. you can also ask us questions if you face any issues on installing.